The demise of the Libertines was a sad story, but not because of Pete Dohertys downward spiral into drug addiction and constant arrests. The true shame was that a self-absorbed and overrated songwriter overshadowed the bands true talent Carl Barât. Dont believe me? Well, try listening to Babyshambles Down in Albion and then this debut by Barâts new band Dirty Pretty Things. Theres no contest as to who the more talented songwriter is. Waterloo to Anywhere finds the debonair front-man leaving his past behind him and moving on with a collection of songs that rival and sometimes better those of his first band. And its not just him getting on with his life; two other ex-Libs, drummer Gary Powell and Dohertys replacement Anthony Rossomando, are in the fold, as well as former Cooper Temple Clause bassist Didz Hammond, forming a band with a "last gang in town mentality. Gone is the shambolic production that either elevated or marred the Libs work, and in its place a visceral sound that oozes passion and life. Perhaps the finest feature besides hearing Barât revel in his charming prose without Dohertys slurred drawl are the crisp, pronounced guitars that instigate wild rave-ups like the brilliant riff-led chorus of "Doctors and Dealers, and the hyperactive "You Fucking Love It, a song that speaks volumes about the reaction this album deserves.
Considering everything that went on in the last act of the Libertines, would you say writing this record was a cathartic experience? When people have asked me that Ive always said no, but as it turns out, Im starting to think perhaps it was Thats weird. Youd never guess what Im looking at: a guy with a parachute, on a bicycle, parachuting into the festival. That is fucking strange. Sorry, I had to mention that.
Is it more difficult to write on your own than with a songwriting partner like Pete? I found it very hard at first, but then I realised that was only because of my confidence. And the most important thing about partnership to me, I realised, was not really someone contributing, but someone helping you with direction and telling you if its shit or not. Thats what I needed and thats what Didz did a lot with me on this record.
Did you begin writing this record after the Libertines ended? Yeah, I wanted a fresh start and didnt want the band to forever be in the shadow of the fucking Libertines. Thats not something I want to carry on living with, Ive had enough of that shit, the fucking fall-out of the Libertines.
(Island Records)Considering everything that went on in the last act of the Libertines, would you say writing this record was a cathartic experience? When people have asked me that Ive always said no, but as it turns out, Im starting to think perhaps it was Thats weird. Youd never guess what Im looking at: a guy with a parachute, on a bicycle, parachuting into the festival. That is fucking strange. Sorry, I had to mention that.
Is it more difficult to write on your own than with a songwriting partner like Pete? I found it very hard at first, but then I realised that was only because of my confidence. And the most important thing about partnership to me, I realised, was not really someone contributing, but someone helping you with direction and telling you if its shit or not. Thats what I needed and thats what Didz did a lot with me on this record.
Did you begin writing this record after the Libertines ended? Yeah, I wanted a fresh start and didnt want the band to forever be in the shadow of the fucking Libertines. Thats not something I want to carry on living with, Ive had enough of that shit, the fucking fall-out of the Libertines.